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The Filmmaker's PhilosopherMerab Mamardashvili and Russian Cinema$
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Alyssa DeBlasio

Print publication date: 2019

Print ISBN-13: 9781474444484

Published to Edinburgh Scholarship Online: May 2020

DOI: 10.3366/edinburgh/9781474444484.001.0001

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Andrey Zvyagintsev’s Loveless (2017): The Philosophical Image and the Possibilities of Film

Andrey Zvyagintsev’s Loveless (2017): The Philosophical Image and the Possibilities of Film

Chapter:
(p.160) Conclusion Andrey Zvyagintsev’s Loveless (2017): The Philosophical Image and the Possibilities of Film
Source:
The Filmmaker's Philosopher
Author(s):

Alyssa DeBlasio

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474444484.003.0008

In this concluding chapter I consider the methodological and conceptual possibilities that Mamardashvili’s case opens up for the philosophy of film, and investigate how this knowledge might offer us a new way to think about the concept of generation in recent Russian filmmaking. An excellent case study in this regard is the work of Andrey Zvyagintsev, the most internationally acclaimed Russian director of the early twenty-first century. While Zvyagintsev never studied with Mamardashvili, he has referenced Mamardashvili’s philosophical output on several occasions. This chapter engages the work of leading philosophers and theorists on the idea of film as a “form of thinking,” with a focus on Zvyagintsev’s 2017 film Loveless.

Keywords:   Andrey Zvyagintsev / Andrei Zviagintsev, Loveless

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